Excerpt from Your Very Own in tiny spoon’s erasure contest supplement

Hey all,

This post is a little bit delayed, but I wanted to write a quick note about my recent publication in tiny spoon‘s issue #2 erasure contest supplement. The title pretty much says it all, but I did want to take a second to thank the tiny spoon team for their generosity in accepting my submission, and for their efforts publishing and promoting my work alongside an excellent roster of experimental poets. As you can see below, the piece looks pretty swell, and I appreciate the editors’ dedication to incorporating writing that pushes the typographical norms of journal publication. If you can get your hands on paper copies of issue #2 or the erasure contest supplement, I’d highly recommend a look; otherwise, I trust they’ll be posted in pdf form on tiny spoon’s archive page in the coming months. (You can also take a look at the digital edition of issue #1, which is already there!)


excerpt from Your Very Own in tiny spoon erasure contest supplement: the anger / you post / all / over / is difficult to see. / worse, the ra ge / can / drown / you. You have to / grab hold of / and pull on each / wrong.


Your Very Own is a chapbook-length erasure poetry project I’ve been working on for some time. Without going into too much detail (the complete book comes with a context that’s quite different from that of the excerpt), the work is an erasure of text and images from the children’s novel Choose Your Own Adventure #43: Grand Canyon Odyssey, written by Jay Leibold and illustrated by Don Hedin. If you haven’t done so already, you can check out my Instagram (@selected.works) for a few more selections from the project.

I’ve spent the past few months working with JackPine Press to publish an edition of the chapbook, and the process so far has been incredibly exciting; consider the amazing bookworks the press has produced in the past, I can’t wait to see what a fully materialized version of Your Very Own will look like. While I don’t have a solid timeline for the publication just yet, let’s consider this a soft announcement. Stay tuned for details!


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Featuring at Common Readings, the May Edition

Hi all,

I know I’m a little late, but I wanted to take a second to shout out my feature reading at Common Readings TOMORROW (Monday, May 27) at Toronto’s Campbell House Museum. Common Readings has become one of my favourite series in the city; aside from excellent curation and great hosting by Daniel Renton and (tomorrow night) Alexandra Prochshenko, the series boasts one of the better venues in the city’s poetry landscape. I mean, who wouldn’t want to listen to poetry in a furnished and fancily wallpapered 19th-century historic house and museum? (I also heard there’s a photography exhibition mounted in the very room we’ll be reading in tomorrow. Plus wine and beer.) In any case, the Common Readings’ May Edition features Kern Carter and Claire Kelly alongside li’l old me, so it promises to be a good show. Again, it all goes down tomorrow night (Monday, May 27) at 7pm (although we tend to start a little late) at Campbell House, right by Osgoode Station.


Common Readings, The May Edition poster


Last month, Shane Neilson invited me to read with him at the Guelph launch of his new poetry collection, New Brunswick, and I think the whole mini-trip really reawakened my live reading itch. Aside from feeling the modest thrill of being on stage (or at least in front of an audience), seeing my friends and colleagues from Guelph and London reminded me of the importance of building community around poetry…. Though I also realized it can’t just be any community; it has to be a community that reflects and refracts my own approaches to the medium, which means it has to be a community I contribute to with my own voice. I’ve been pretty cynical about the arts and literary scenes recently, but I’m hoping I can bring some of my more affirmative energy to tomorrow’s reading. At the very least, I hope to inch a little closer to fearlessness.

I also hope to see you there. But either way, happy reading, and happy listening!


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Review of Brian Kim Stefans’s Word Toys in Chiasma 5

Hi all,

Normally I like to keep my academic and non-academic work semi-separate, but I thought I’d share an academic book review that might be of interest to any experimental poetry connoisseurs reading the blog. My review of Brian Kim Sefans’s Word Toys: Poetry and Technics has just gone online as part of Chiasma: A Site for Thought, a scholarly journal published by some of my friends at Western University’s Centre for the Study of Theory and Criticism. The review appears near the end of Chiasma‘s fifth issue, “To Be a Body?”

I enjoyed Word Toys deeply. Stefans is unique in that he is equally attentive to both experimental poetry and continental philosophy, rarely shortchanging one for the benefit of the other. Of course, these topics are both also of special interest to me, so I found it incredibly fruitful to read such a rich take on their intersections. Perhaps you will, too?


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Review of Through Lines in Border Crossings 149

Hi folks,

I just wanted to write a short post to reflect on my review of Through Lines, a group exhibition presented by Koffler Gallery and Critical Distance Centre for Curators last fall. The review is featured in the “Crossovers” section of the most recent issue of Border Crossings, which is now available both in print and online, here.

I don’t have too much to say about the review, but I did want to thank the editors of Border Crossings for accepting my pitch. I visited the exhibition several times last year, and I enjoyed it thoroughly. Perhaps more importantly, though, the exhibition’s central theme of redaction gave me a chance to try applying some of my PhD research on erasure to a different artistic genre and a different mode of writing. I’d like to say the experiment was successful, but in any case, I am grateful for the opportunity to carry it out.

Of course, publishing in a magazine like Border Crossings is also huge step toward expanding my art writing portfolio, which I hope to continue developing over the coming months and years. Hopefully you’ll see more writing like this from me soon. Until then, happy reading!


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Review of JC Bouchard’s Borderline Definitions

Hi folks,

I just found out yesterday (from a friend’s very kind email, in fact) that my review of JC Bouchard’s Borderline Definitions has just been posted on The Town Crier! Many thanks to Jason Freure and the other folks at the bloggy appendage for working to make this as strong a piece as it could be–and, of course, for putting it out into the world.

The piece isn’t so much a book review, actually, as a reflection on the launch event and the too much time I’ve spent at dark, loud Toronto readings with JC and the rest of the scene’s tireless regulars. I’ll let the rest of the review speak for itself, but now that I’m on my own blog, I wanted to add a footnote that ended up being cut from the final piece. In short, this is at once my gesture to the people who make this scene memorable to me, and my apology for not gesturing to them more directly:

Though I considered naming some of the many folks who have made this community so vibrant and impactful, I realized that there are simply too many, and that any decisions about who to include or exclude would only reflect a kind of hierarchization (not to mention bias) that simply doesn’t fit. Instead, I hope their honour will be served by my attempts to articulate the soul of the community they built and continue to build.

And that’s that. If you’re a friend who knows these readings well, I hope you’ll forgive me. If you’re a reader, happy reading!


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Emerging Arts Critics programme update

Hi all,

Toward the end of last year I wrote an extensive post about the Emerging Arts Critics programme and my participation in it, and I’d like to start by referring you there if you haven’t read it.

Just last night I attended the final performance of the 2018/2019 programme, The National Ballet of Canada’s Alice’s Adventures in Wonderland. And just this morning, my concert report on the Toronto Symphony Orchestra’s presentation of Shostakovich, Langgaard, and Bartók–which is also my final contribution to the programme–was posted on The WholeNote’s website. I’d really like to thank the WholeNote staff for making the piece what it is, considering my relative naivety when it comes to classical music. I’d also like to thank them for coming up with an excellent headline for the piece–you don’t even want to know what the old one was.

Overall, this seasons’ programme has been a wonderful experience. I’ve become even closer with my fellow reviewers since last fall, and I’m already looking forward to staying connected with them in the future. I also can’t help but reflect on how much I’ve learned from the editors and mentors the programme put me in touch with. It feels like it’s been a long time since I’ve had such experienced and insightful eyes take a good, hard look at my writing, and the past several months have reminded me how crucial that kind of feedback is. All in all, I couldn’t be happier with the program; this is what I love about being a writer.

If you have any interest in opera, ballet, or classical music, I hope you can get something out of it, too. And, as always, happy reading!


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Print Run of The Four Fundamental Concepts of Psycho-analysis: A Selection

Hi everyone!

I’ve written before about The Four Fundamental Concepts of Psycho-analysis: A Selection, a multi-year conceptual/visual/appropriation poetry (?) project that was also the first subject of my Instagram feed. Now that it’s been through a few iterations, I’ve decided to return to some earlier ideas for extending the project and do a print run of complete, 142-page copies. While I had the opportunity to print some mock-ups of the book some years ago (hence the photo below), this time around I’m making enough for distribution–albeit a rather limited distribution, since this is conceptual poetry, after all!

Details remain TBD, but most of the print run, I think, will go toward a guerrilla art distribution campaign with the goal of seeding Toronto’s literary landscape with a healthy does of these intricately confounding psycho-analytic book objects. However, I also want to take this chance to make sure that anyone who wants a copy for themselves gets one, since I doubt they will ever be printed again. It also wouldn’t hurt to have a few interested book fetishists contribute some financial backing to the print run (which is coming out of my own pocket, by the way).

So here’s the deal: for $20 (CAD) plus the cost of shipping, I’ll reserve you a copy of The Four Fundamental Concepts of Psycho-analysis: A Selection and send it your way as soon as soon as they come off the press. Since I have no long-term book-selling plans, the transaction will be somewhat informal, but please don’t hesitate to email me at j.m.nyman2@gmail.com to reserve your book or ask me any questions. I’m friendly, I promise!

What’s most important on my end is that anyone who wants a copy lets me know as soon as possible, so I can make sure I print enough! If you don’t reserve yours, I might still have some leftovers later on, or you might be lucky enough to find one washed up at a used bookstore or library…but I can’t guarantee it!


The Four Fundamental Concepts of Psycho-analysis: A Selection (back cover)


While the full printing has yet to take place, I’ve just confirmed that I’ll be doing the print run with the Toronto Public Library’s Asquith Press, which is, in effect, a giant contraption (pictured below) called an Espresso Book Machine. I got to see the machine in action when I printed the mock-ups, and it is pretty amazing: basically, it completes the entire task of printing, trimming, and binding paperback books within a single, fully-automated process, complete with robot arms and hot glue. The folks at the reference library’s digital innovation hub charge quite modest fees to print books with it, especially if your print run is small, so I would definitely recommend it to any aspiring book-with-a-spine-makers.


The Espresso Book Machine at the Toronto Public Library's Asquith Press


As you might expect, I’m pretty excited to start this thing running. Until then, happy (non-)reading!


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Two Houseplants, from above nanopamphlet

Hi everyone,

They’re here! I’ve been waiting for my batch of nanopamphlets to arrive in the mail from Penteract Press over in the UK, and I was delighted to find this bundle waiting in my mailbox (along with a few samples of the press’s many other visual, formal, and constrained poetic projects). Two Houseplants, from above is what the press terms a “nanopamphlet” (which means it’s really tiny) containing two small pieces from a series of visual poems depicting my houseplants, from above. I’ve been working on the series for a long time, but it’s incredibly refreshing to see it materialize in such a beautiful and well-thought-out form. My sincere thanks go out to Penteract for accepting the piece–and doing wonders with it.


Two Houseplants, from above nanopamphlet (1)


Two Houseplants, from above nanopamphlet (2)


Two Houseplants, from above nanopamphlet (3)


I only found out about Penteract rather recently, and I’m actually a little sad to hear that they’re transitioning into a small press from a micropress–mostly because it means they’ll no longer be publishing the leaflets and nanopamphlets that have been their hallmark for some time. Still, I wish them the best with their mission to continue raising the profile of experimental visual and formal poetry through book-length publications. In the meantime, I have a whole whack of nanopamphlets to give away, so make sure you ask for one if you run into me!

As always, happy reading. And happy seeing, too!


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Two poems in EVENT 47.3, and a note on writing “Non-binary”

Hi all,

Although I’m still waiting to receive my contributor copy of EVENT 47.3 in the mail, I’ve known it’s been out for about a week now, so I figured I’d post before the bulk of you had a chance to hold it in your hands. You’ve probably guessed the news already: two of my poems are featured in the issue, and I couldn’t be more excited! I’m in great company, too, especially with Annick MacAskill (who, apart from being a fabulous poet, reader, and workshopper, also shouted me out on Twitter earlier this week–thanks, Annick!). My sincere thanks go out to the EVENT editorial team for including my contributions (and for the photograph below).


EVENT Poetry and Prose 47.3


While I’m excited to see the work in print, I’ve also wondered for some months whether I would, or should, write a note about writing “Non-binary” (which, along with “Object,” is one of the two poems published this month). There’s a lot to say–much more than I initially thought, actually–but I think it’s still worth keeping in mind that anything I have to say here should be purely subordinate to the poem and its effects on you and others.

It might make sense to begin by saying that, to me at least, “Non-binary” isn’t exclusively about non-binary gender identity. That the term has come to signify a way of identifying outside of a particular gender binary is noteworthy, I think, considering the many forms of non-binary thinking and acting highlighted by a variety of theoretical and practical outlooks, many of which are or have been important to me in my life. On this broad level, I trust that non-binary individuals and their allies also have some appreciation for the overlap in meanings. On the other hand, to the extent that the poem is about non-binary identity more narrowly defined, I don’t intend to implicate ‘non-binariness’ as a homogeneous category or even a single objective concept. I understand that, by its very nature, it means very different things to the many different individuals who live it or live alongside it.

In an important sense, “Non-binary” is very much about how I relate to non-binariness within a certain strain of my personal experience. Why did I write it? I think there are at least a few good reasons why I shouldn’t have; for example, it may be that my perspective simply isn’t relevant, or that by framing the topic according to my own experience as a cis-man I am contributing to the exclusion and marginalization of stakeholders whose voices need to be heard more urgently. I think I’m willing to take responsibility for either of those eventualities (or any others that may come up), and I hope my actions will make good on that promise if the situation demands it. I believe it is important for a writer to consider whether the publication of their work may cause harm, and to take responsibility when it does. However, I don’t think this should be the predominant consideration in the decision to write or publish–especially when the ostensibly safer option (i.e., to not publish at all, or to publish only within a conventionally acceptable range of themes and topics) could reflect and reinforce a complacency that is itself a form of harm.

Some of what I’ve written about non-binary identity may be a reactionary response to difference, and again, I think I can own that if it is the case. But I also think there are more nuanced and mixed-up emotions in the poem, including significant doses of envy and shame. I understand identity, at least as I experience it, as something both socially constructed and (to an extent) fluid. In saying that, I don’t mean to implicate an abstracted monolith of capital-S Society; rather, society for me is the particular matrix of people I find myself surrounded by–including individuals who are non-binary and those who truck with them. In this context, part of my response to seeing how other people represent themselves is to wonder how I might follow or might have followed their example more or less than I have. I have defined myself in relation to others, and by doing so differently, I might have opened different sets of doors to both my surroundings and my own wants and needs, in essence becoming a different person. This is of course a continuing process, but it is also one in which history (both personal and cultural) remains an enduring factor: I am whatever I become, but I am also my past. These (im)possibilities of perpetual (re)construction weigh on me when I reflect on the identities I’ve taken up and carried with me over time, as I have tried to do in “Non-binary.” Hopefully that reflection can help me change what needs to be changed, as well as inhabit more ethically what probably won’t change.

I’m not sure if EVENT‘s editors bargained for any of this when they decided to publish “Non-binary.” In fact, I don’t really know what they bargained for, considering how little the discourse around publishing addresses what our writing actually says about us (especially when that discourse is shared among folks with normative identities in relation to gender, sex, race, ability, etc.). Ultimately, I hope this note doesn’t seem like an attempt to cover my bases or preempt any criticisms that might be raised against “Non-binary” (honestly, I’m not entirely sure anyone even cares that much). What I really want is to talk about these topics more, because that discourse, I think, is valuable in itself.


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Emerging Arts Critics programme

Hi everyone,

I wanted to take a moment to reflect on something that’s become a significant part of my life this fall: for the past few months, I’ve been a part of the 2018/2019 iteration of the Emerging Arts Critics programme, which is co-administered by the National Ballet of Canada, the Toronto Symphony Orchestra, and the Canadian Opera Company. The programme brings together eight emerging writers, sends us to the season’s performances of dance, opera, and classical music from each participating company, and throws us into writing reviews of one performance from each genre.

If you’ve talked with me over the past few months, you’ve probably heard that I’m having a blast with the programme. Aside from getting the chance to work with professional reviewers/mentors in various settings (workshops, one-on-one editing, etc.), I’ve also realized the incredible value of getting to talk about art with seven engaged and intelligent peers as that art is happening. Of course, the performances themselves have been fantastic, too.

Partly, I thought to write about the programme now because my contribution to its dance aspect, a review of the National Ballet of Canada’s The Dream and Being and Nothingness, was just published on The Dance Current‘s website last week (along with reviews by several of my EAC peers, which you can find here). In addition, my review of the Canadian Opera Company’s debut of Rufus Wainwright’s Hadrian is set to appear in the upcoming print issue of Opera Canada, which I’ve been told will be released later this month.

Working on these pieces has taught me a great deal–not only about how to review two unique and (to me) unfamiliar performance genres (for which I’m incredibly thankful to the editors of both publications), but also about how to write about and across the arts in general. To me, critical writing is simply the best way to think, feel, and learn through a work of art, and discovering that this is the case as much with dance and opera as it is with other forms has been inspirational. With these experiences in my back pocket (along with my anticipation of reviewing the Toronto Symphony Orchestra this coming spring), I’m even more confident about the future contributions I can make to the arts through critical writing.

As always, happy reading–but also viewing, listening, and thinking!


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